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Doublereed Archive - Posting 000057.txt from 2005/07
From: PhilFrei@-----.com
Subj: [DR-L] Adventures in articulation
Date: Sat, 30 Jul 2005 16:41:32 -0400
A couple recent, odd ideas about tonguing I thought I'd send out into the
e-void:
1) It is possible to tongue a reed by holding the tongue still and moving the
oboe. Probably NOT a useful technique, but amusing, nonetheless. I'm
wondering if it is possible to coordinate this with regular tonguing to get a
double-tongue. Or I should say, I'm wondering if it is possible to work this technique
up to a useful speed, 'useful' being defined as any rate faster than what one
can do with single-tonguing. (It would, theoretically, be akin to a sort of
wrist/forearm-twist vibrato technique?)
2) I'm noticing there are lots of schools of thought on how to approach the
reed, e.g., from below, above, or straight on. One can use any of those
techniques and add another variant: tap either the center of the reed or the corner.
I've heard strong advocates for each approach.
But one possibility I haven't seen mentioned is a stroke that starts below
and gently touches the tip while ending above the reed, and vice versa. This
seems to be as doable as the others, though it has the inefficient drawback of
requiring the tongue to move further to the original position than simply
drawing the tongue back as in 'normal' tonguing. However, if one alternates the
strokes, this drawback disappears. I wonder if this is a viable approach to
double-tonguing? The syllables would be a sort of la-dl la-dl? Or, if integrated
with 'normal' double-tonguing to make a true triple tongue: ta-ka-dl, ta-ka-dl.
Anyone ever play around with this?
This could work on oboe or bassoon, but probably not single reeds, flutes or
brass.
- Phil Freihofner
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